Mark Ramshaw spoke with the visual effects wizards behind the newest live action Peter Pan feature about how they accomplished the startling and massive visual effects.
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Weta senior animator Jason Schleifer talks about what it was like going Gollum for the landmark Lord of the Rings trilogy.
Wah Ming Chang, an Academy Award-winning animator and artist, died Dec. 22, 2003 in Carmel, California at the age of 86.
Some of his more notable works include a stop-motion animation production of THE THREE BEARS. Chang created posable wooden models of PINOCCHIO and BAMBI so that Disney animators could study body movements. He also contributed to BOZO THE CLOWN, TOM THUMB, THE WONDERFUL WORLD OF THE BROTHERS GRIMM and THE SEVEN FACES OF DR. LAO, reported Associated Press.
Fluids Michael Fu and Josh Piezas look at various economic issues surrounding remote animation production.
The Durfee Foundation has announced the deadlines for the 2004 ARC grant program. ARC grants are awarded on a quarterly basis to approximately 10 Los Angeles artists. The artists can be working with any medium. Grant requests may be for up to $2,500. Applications must be postmarked on or before the following deadlines:
First Quarter: February 3, 2004For presentations between March 4 and August 4, 2004
Second Quarter: May 4, 2004For presentations between June 3 and November 3, 2004
Third Quarter: August 3, 2004
More animation tech talk from Gene Deitch. The technology of animation has changed somewhat over the past 35,000 years, when cavemen first attempted it, but the basics remain. Here they are in specifics.
Whats your favorite animated short? Forum members are asking for your opinion. Know of any good Flash video tutorials then lend your advice to our bloggers. One of our senior members just had to get it off his chest he never seems to have enough time to work on artistic endeavors. If you know how that feels post your thought and experiences. A senior member has started a magical character contest in the Animation Café and wants others to share their work. Who would have thought an anti-depressant drug would spark so much discussion?
This Halloween month, the Career Coach, Pamela Kleibrink Thompson, shares some tricks and treats to help you stay employed.
Scott Jenkins speaks with artist Doug Chiang and Sparx*s Alan Portillo about the epic 3D universe, building momentum under the name Robota.
Soho-based Clear has won the Best Special Effects Award at the 2003 MTV Video Music Awards for their work on the Queens of the Stone Ages GO WITH THE FLOW. Directed by Shynola through the Director's Bureau LA, video is set in a desert with trucks playing chicken while a party of sex, drugs and rock n roll rages. This is the second time in three years that Clear has won this award, previously winning for Robbie William's ROCK DJ. The awards ceremony took place in New York City on August 25, 2003.
Sarah Baisley rounds up facts, thoughts and examples of issues and trends driving producers of CGI commercials today.
Rick DeMott interviews three agency creative directors to find out how they go about deciding when to use animation as well as what talent for a commercial spot.
Rick DeMott talks with Tom Kenny to discover there’s a truly animated soul behind the voice of SpongeBob SquarePants.
In an effort to help cultivate new talent, A52 provided its services to recent Art Center College of Design graduate and rising director Ania Hoffman for work on her Nike spec commercial. As a result of the 30-second spot entitled FULL MOON, the Russian-born Hoffman received representation in Japan by production company Size. The relationship was kicked off when Hoffman was introduced to A52 producer Leighton Greer.
Academy Award-winning claypainting animator Joan Gratz ventured into strange territory when she took a Combustion course at Oregon3D. Find out how she handled the change from clay to computers.
VFXWorld editor Bill Desowitz and Animation World Network editor Sarah Baisley venture to this year's VES Festival and report back about the convergence of technology and creativity.
Chris Robinson interviews indie animator Debra Solomon, the creator of the animated Lizzie McGuire persona, about finding a way to do what you want and make money doing it.
In this final installment of articles exploring animation as commercial entertainment and as an art form, Jean Detheux heralds a group of animators who listened to their own music and delivered it up on the animated screen.
ROBOTS, 20th Century Fox Animation and Blue Sky Studio's eagerly awaited follow-up to ICE AGE, will be powered by the celebrity voice- over work of Ewan McGregor, Halle Berry and Mel Brooks. The computer-animated movie, under the helm of director Chris Wedge, has been in production for two months, and is set for release March 11, 2005.
Eighteen 3D animators, teamed up in pairs, have 48 hours to bring to life Blueboy, the character that was chosen for them. Their work will be shown live at 3:00 pm, June 6, 2003.
From cutting-edge TV commercials to blockbuster movies and back again, The Mill has become one of the top five VFX studios in the world.
What's the difference between an agent, a manager and a lawyer? What can they do for a creative and what do they need from you? Darlene Chan talks to a host of reps to find out what you need to do to get in good hands.
BRUCE ALMIGHTY, the God-induced comedy starring Jim Carrey, scored highest over the Memorial Day weekend, upending the mighty MATRIX RELOADED. The Universal feature, boasting VFX by Illusion Arts (Collin Fowler was the VFX coordinator), took in $86.4M over the four-day period, while Warner Bros.' MATRIX RELOADED dropped 50% in its second week, with $45.7M, despite the biggest ever four-day gross. At $209.5M, the visual effects feast included work from Amalgamated Pixels, Animal Logic, BUF, Bullet Time, CIS, CFX, ESC Entertainment, Giant Killer Robots, PLF Sony Pictures Imageworks and Tippett Studio. However, it broke international box office records around the world taking in $113.2M from 62 countries, which is the first time in history a film has surpassed the $100 million level in one weekend. Sony/Revolution's DADDY DAY CARE dropped to third place, but lost less than 5%, with $18M for a $73M cume. Fox's X2: X-MEN UNITED came in fourth place with $13M for a total of $192M. Contributing VFX to the blockbuster were Cinesite, EYETECH Optics, Frantic Films, Kleiser-Walczak Construction Co. and Rhythm & Hues. Warner Bros,' THE IN-LAWS, meanwhile, debuted in the fifth spot with $9.1M. Cinesite handled VFX chores, with Randall Bahnsen serving as 3D motion tracking supervisor. Fox's DOWN WITH LOVE, featuring VFX by Asylum, hung in there in sixth place with another $5M for a total of $14.6M Disney's THE LIZZIE MCGUIRE MOVIE, dropped to seventh place, with $4M and a $37.3 cume. Rainmaker Digital Pictures did VFX for the film based on the hit TV series about a teen with an animated alter ego. Disney's HOLES held onto the eighth spot with $3M for an impressive total of $60M. Digital FilmWorks and Avtoma of L.A. contributed effects for VFX supervisor William Mesa, founder of Flash Film Works, whose studio did the majority of the work. Sony's IDENTITY plummeted to ninth place with $2.6M for a total of $49.2M. K.N.B. EFX Group Inc. did VFX work for the suspense flick. Sony/Revolutions' ANGER MANAGEMENT suffered a 32.5% drop as it rounded out the tenth spot with $2.4M for a cume of nearly $132M. Sony Pictures Imageworks and the Orphanage did VFX for ANGER.